I can’t get the 5.1 mix to work on Star Wars 77, any advice?
I think you better give us waaaaay more details. How are you playing this?
The picture’s running time is 2 hours and 19 minutes which is a combination of two acts—act one includes Overture and Intermission, and the 2nd act includes entr’acte. It is very likely that the station airing the film—TCM—may use the remaining 19 minutes to air promotions of their other programs and some other clips.
jimbotron235 said:
It has nothing to do with frame rate. Besides, I de-interlaced and converted the DVD video to 23.976 before building the edit.The AC3 track (and LD for that matter) can’t be added untouched. The director’s cut video has dozens of shots that are 1-2 frames shorter as compared to the theatrical cut. This results in numerous instances where the video and DVD/LD audio go out of sync. I can fix this here and there by inserting duplicate frames where appropriate but for shots where a judder would be noticeable, I have to trim the audio by the appropriate amount of time, and then export the edited audio track.
I meant, use the AC-3 track from the 1997 DVD release which was the theatrical cut, instead of the 2002 ‘director’s cut’ DVD.
@jimbotron235:
Why bother transcoding the AC-3 track at all? Keep the AC-3 track untouched and mux it to the final edit of your project.
The fps (frames per second) from the DVD—29.97fps—and the fps from the Blu Ray—23.976fps—are one in the same—both audio tracks will have the same duration.
If you didn’t change the speed of the AC-3 audio when you imported it to Premiere, then by all means, keep the audio you have in Premiere as a guide when you are editing–so long as your final edit is at the fps of 23.976.
When you export the video with that audio, mux the DVD’s AC-3 track to your edit. Compare the speed of both AAC and AC-3 tracks and see for yourself if they are sync’d properly.
I genuinely hope that the ESB Tape still exists, such recordings are movie history!!!
Not from ‘Protocol Droid’, but there is a feature-length audio recording of the limited-edition screening from ESB that was taken during the 1st four weeks of the film’s release. The audio features alternate lines and sound-FX.
You can read the details, here.
https://originaltrilogy.com/topic/Hopefully-the-last-70mm-vs-35mm-ESB-audio-differences-thread/id/14128/page/1
You can download the individual audio files of that screening from the uploader’s blog:
http://wideanglecloseup.com/starwarsaudio.html
Here’s a fan-made video-sample of that recording.
https://www.youtube.com/watch?v=cmbl8tLOfFE
Sremrofsnart said:
The Scofield Audio Recording is an priceless Jewel in my Collection and i already tried to sync it up with the Treadwell Cam Video source, its so cool to hear the laughter and mumbling of the Audience. One thing i wonder is if “ProtocolDroid” ever released the Scofield Audio Recording of Empire Strikes Back? I’m curious bc he said that his mother also did an recording there.
I don’t think ‘Protocol Droid’ released that recording. He had been absent from this forum for almost a decade and as of this past summer, he had returned. According to his profile, he checked-in to this forum, yesterday.
Tape Recording of Star Wars In The Theater From 1977 With My Mother by William Forsche
Hi, I’m a big fan of movies recorded in theaters where you can still hear the audience sounds and was wondering if anyone here has information on whether a complete recording of the video linked above might exist? Has anyone been able to contact the uploader?
It would mean a lot to me if you could somehow find out or someone here had/has contact with the person.
I need the audio for a project of mine.
There are other feature-length, audio In-theater recordings of these Star Wars films-ANH and ESB.
You can check out these threads for details.
http://originaltrilogy.com/topic/1977-70mm-soundtrack-recording/id/5690/page/1
http://originaltrilogy.com/topic/1977-70mm-Soundtrack-Recording/id/5685
http://originaltrilogy.com/topic/Question-on-the-1977-70mm-Soundtrack-Recording/id/9781
http://originaltrilogy.com/topic/ESB-70mm-Soundtrack-1980-in-theatre-recording/id/12501/page/1
http://originaltrilogy.com/topic/Hopefully-the-last-70mm-vs-35mm-ESB-audio-differences-thread/id/14128/page/1
http://originaltrilogy.com/topic/70-mm-print-of-the-Empire-Strikes-Back-Differences/id/2321/page/1
http://originaltrilogy.com/topic/Is-this-amateur-audio-recording-of-any-use/id/14000
http://originaltrilogy.com/topic/Scofield-version-SW-theater-recording/id/14077/page/1
http://originaltrilogy.com/topic/Closest-to-1977-release/id/5530/page/2
Hi, tomalakis,
Just wondering how that project of yours came out.
Wall-E is getting a Criterion 4k release in November, the first time in years they’ve put out a Disney movie.
I can’t picture Disney licensing out the home video rights of their huge franchise to another home video distributor.
If we can’t find a print of the film that would prove that this alternate edit of the said sequence had existed, then perhaps we can look at the ‘spotting’ notes of music editor, the late Kenneth Wannberg.
Right after a composer is hired to a film, he and the director get together to view the film—from start to finish—and find areas in it where music is needed. This period is known as a spotting session. The music editor is also present during that session as he must take notes on which group of footage needs music.
After the meeting, the music editor takes his notes from that meeting and prepares a typewritten list of action for each music-cue that the director wants. Each action has a time-stamp on the left side. This paperwork is called the spotting notes. It would look like this:
Since Kenneth Wannberg was involved in ‘Star Wars’ for composer John Williams, Wannberg would prepare such a typewritten list for the composer. If this alternate edit for the said sequence existed, then, certainly, one of the shot’s description in Wannberg’s spotting notes would read like this.
“Grapping hook misses beam and falls”
The 2011 cuts are not exactly the same as the 1997 cuts, lengthwise
So, work would have to be done to sync the 2011 cut with the 1997 cuts.
Or provide a wave file of a M & E (Music and Effects) audio track, so that members can prepare foreign language audio-mixes to your edits.
It could at least be a lossless compressed format (FLAC) to save on online storage size
But this is impossible, as it would first require that Ady has an M&E track of the movie which…no one does outside Lucasfilm?
Since the lengths of Ady’s SW fan-edits are different from the final-theatrical lengths of the films, custom audio-mixes would have been created to conform with the lengths of Ady edits. There are audio-files of the unique sound-effects from the SW franchise that have been collected and stored by the fans and other fans have used these audio files to make custom edits of their favorite SW films. This was the case for these Ady SW fan-edits.
So preparing a Music and Effects audio file–with the English dialogue removed–from these custom audio mixes is possible. It’s just a matter of Ady wanting to do one and share them.
Or provide a wave file of a M & E (Music and Effects) audio track, so that members can prepare foreign language audio-mixes to your edits.
adywan said:
I ahve the ability now to encode a DTS-MA audio file, but the size is just under 5gb. That really eats into available space to fit on a BD-25.
Thank you for providing a lossless audio mix to your fan-edits.
darkzip said:
V2’s upscaling begins!edit: Son of a Nerf Herder. Windows decided to update during my overnight run. Oh well, I’m going to see if reencoding the already upscaled version to the correct fps fixes the stutter before I try rerunning topaz
I would just start over from the PAL source–that is, if you’ve managed to get one. If there’s a delay in delivering the final product, so be it. We would just have to be patient and wait. We want the final product to be good.
So, thank you for doing it.
To: Bobson Dugnutt
I feel that you should release the deleted-scenes only, as you did for ‘Star Wars: Leftovers’, without doing an extended edit.
I’m sure that you have a lot of other projects that you want to do, so let someone else use the collection of deleted scenes to produce their own polished fan-edit of ESB.
When I was sync’ing those vintage audio recordings of the Star Wars In-theatre screenings to the film’s theatrical versions at 23.976fps, I discovered that the speed on these audio recordings would fluctuate—portions would be faster and other would be slower. I had to make copies of these recordings at different speeds and pick parts from these copies to fit the final length. I came up with an edit of the audio-screenings that were serviceable, even though the audio wasn’t sync’d right-down to the millisecond.
the 2011,2013,2015,2019 blu-ray releases have the 2011 isolated score
also doesnt the 2020 blu-ray releases have the same audio just upmixed
Where are you finding that these official Blu Ray releases have the isolated scores on them? My official 2011 Blu Ray discs do not have them, and I would like to know where to get them.
In the meantime…
@That guy with no name
this may not mean much for you, but here is a brief rehearsal video for one of the SW:ANH ‘film-with-live-orchestra’ concerts where there’s no film audio. At the 36-second mark is a performance of the tracked-music for CGI-enhanced ‘stormtropper-search-party-on-Tatooine’ scene.
https://www.facebook.com/QCSymphony/posts/10157051840560170?cft[0]=AZWrT_QlI3_v93HSWx_GYoLEOmG7CBFUA0QOAHbLAdWlFwx38enAQ8Zrh_a13UqMSxCK6xJcipqyYQFKWywceR5xNkiRpjMVA5rPwR1Rw535kgOdkjOl0klt4vVrUIP-TsNXkUa5vyrLESjNlNJRndBUUxfZlIIVwjLCCZD-d4q6Zg&tn=-UC%2CP-R
Why don’t you audition this recording of the Fox-Fanfare made by the National Philharmonic Orchestra/Charles Gerhardt, conductor for their album of ‘ESB’ released by Varese Sarabande.
https://www.youtube.com/watch?v=Vz5iu_rI6M0
That is, if a 2-channel audio-mix is what you are going for.
I noticed that you are using the 1977 opening in your edit and not all the others dating back to 1981. The pan-down movement towards the planets in the other versions are different from the ’77 version.
As for the music-take that you are using in the ’77 version, it is still unsync’d, especially at the point where the tip of Tatooine’s tip emerges from the screen’s bottom. That is where that orchestral ‘crash’ is supposed to happen. The ‘crash’ in your sample (even though ‘Take 19’ has some of the instruments removed at that point—the gong and the tympani) happens just shortly after Tatooine appears on screen.
The solution would be to speed-up ‘Take-19’ to sync with the music-take used in the ’77 final edit.
I have a question about the audio tracks. The version of 4K77 that I’m checking out has a track labeled as 1993 Laserdisc Stereo. However listening to this I hear none of the alterations made for the 1993 LD. Any input on this???
There was a mislabeling in tracks 14 and 15 for 4K77. Track 14 is the 1985 English Stereo Remix and Track 15 is the 1993 English Stereo Remix.
In other words: The track labeled ‘1993 remix’ is the 1985 remix and the track labeled ‘1985 remix’ is the 1993 remix
I did make the mistake of not making a post about it until now. I did spend a lot of time on it and am very proud of it.
I feel that is the best way to announce a project…when one is finished. Good call on you to do that.
Other members announce their projects to the group before they even started working on it. Meanwhile, the group gets interested in the project and wait eagerly for its release.
Then, after some time has passed, the project owners announce that they have to quit working on it either because life gets in the way, or they lack the funds to work on it, or the project is way over their heads. Meanwhile, the group is disappointed after they have had their hearts set on checking it out.
Color Match software (for matching 4k80 to blu-ray): Dr dre’s color match tool.
Color grading software: Davinci Resolve 17.
Can you describe your workflow of color matching every shot of a film. I’ve used Dr.Dre’s color matching tool to do brief scenes, but how would you do it for entire movie and how long does it usually take for you?
Harmy’s ‘Despecialized Edition’ of ANH has an 'isolated score’audio track (track 20).